An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Mike Kelley, Unisex Love Nest (1999). Installation with 1-channel video (colour, sound). Art © Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VG Bild-Kunst, Berlin, Germany. Courtesy Hauser & Wirth. Photo: Nic Tenwiggenhorn.
February in LA has long been a permanent fixture in the calendars of the world's elite, who use awards season as a welcome excuse to escape the dreary drizzle in Europe and the biting cold on the East Coast. But now there's a new reason to be in Tinseltown this month: the launch of the first ever Frieze Los Angeles.
One of the most prominent artists of his generation, Mike Kelley produced a vast range of works in drawing, sculpture, performance, music, video, photography and painting, as well as critical texts and collaborative works. He completed his studies at the University of Michigan and the California Institute of the Arts in 1976 and 1978 respectively. Kelley moved to the West Coast in the mid-1970s, and lived and worked in Los Angeles until his death in 2012.
Kelley gained recognition in the 1980s for his work with children's soft toys and other found materials. With these materials, he examined popular culture, memories and fragmented narratives. In Eviscerated Corpse (1989), he sewed together rag dolls and stuffed animals that he had salvaged from thrift shops to make a cross between a human and a centipede. The installation was part of the larger series 'Half A Man' (1987–93) and critiqued the association of innocence with childhood and the idea of family. More Love Hours Than Can Ever Be Repaid and The Wages of Sin (1987)—an earlier creation from the same series—similarly incorporated soft toys and second-hand blankets. Kelley's conspicuous use of sewing and craft—skills traditionally regarded as 'feminine'—questioned the definitions of normalcy and gender.
Children's toys also function in Kelley's work as a satirical metaphor. Deodorized Central Mass with Satellites (1991–99) consists of suspended balls created from discarded, brightly coloured toys. By transforming children's toys into serious sculpture, Kelley visualised a darker side to the American dream's endorsement of excessive consumption and reckless luxury collecting, and intermingled the 'low' and the 'high' of American culture. He also deodorised his suspended sculptures, mocking America's selective amnesia of unpleasant realities.
The idea of memory was one of Kelley's longstanding interests. In 1983, he filmed a 28-minute video about The Banana Man—a character from the children's television show Captain Kangaroo. Since Kelley had not seen The Banana Man himself growing up, he asked his friends to share their memories for the reconstruction. In its incomplete study, far removed from the real character, The Banana Man offers an investigation into the fragility of human memory. In Educational Complex (1995), Kelley similarly reproduced the structures of every school he had attended, alongside his childhood home, as small architectural models. Blank spaces represented parts of buildings he could not remember. Kelley was intrigued by the increasing popularity of Repressed Memory Syndrome, which proposed that the human brain repressed traumatic memories and that therapy could recover them. The public grew interested in traumatic memories and child abuse, a phenomenon Kelley called an infatuation.
In 2010, Kelley collaborated with the London-based organisation Artangel to launch Mobile Homestead: a to-scale replica of his childhood home. Designed as a 'mobile home', the replica is constructed from lightweight white cardboard and has a removable clapboard façade. Kelley conceived of the project as a community gallery that would be driven around the streets of Detroit, serving the public with 'haircuts, social services, meeting space, and a place to hold barbecues and perhaps for the homeless to pick up mail', according to Randy Kennedy for The New York Times. Upon its completion, he recorded the house's launch in three videos that screened at the 2012 Whitney Biennial. Since Kelley's death, Mobile Homestead has stayed with the Museum of Contemporary Art Detroit (MOCAD) and remains available for the community.
Outside his endeavours in visual media, Kelley also wrote and collaborated extensively. He has been published in journals including Artforum (2011, 2008, 2007, 2006, 2003, 1989), Journal of Contemporary Art (1994) and Art Issues (1990). He was an original member of Destroy All Monsters (1973–85), an experimental noise group founded with his friends Jim Shaw, Cary Loren and Niagara (Lynn Rovner). Kelley also collaborated with the band Sonic Youth in his performance Plato's Cave, Rothko's Chapel, Lincoln's Profile (1986) and with Paul McCarthy to produce Heidi (1992).
Kelley's work was and continues to be exhibited widely. Selected solo exhibition venues have included Gagosian Gallery, London (2011, 2007); Centre Pompidou, Paris (2013); MOCAD, Detroit (2013); and Whitney Museum of American Art, New York (1993). He also participated in multiple biennials, most notably the Whitney Biennial (2012, 2002, 1995, 1993, 1991, 1989, 1987, 1985), the Gwangju Biennale (2010), the Shanghai Biennale (2008), La Biennale de Lyon (2003, 2001), the 43rd Venice Biennale (1988) and the Sydney Biennale (1984).
After his death, the Stedelijk Museum in Amsterdam opened a major retrospective of his works, titled MIKE KELLEY: Themes and Variations from 35 Years (2012–13). Other posthumous exhibitions include Mike Kelley at The Museum of Contemporary Art, Los Angeles (2014) and An Homage to Mike Kelley at MoMA PS1, New York (2012–13).
Kelley's works are in the collections of Art Institute of Chicago; Centre Pompidou, Paris; Carnegie Museum of Art, Pittsburgh; Detroit Institute of Arts; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Whitney Museum of American Art, New York among others. Kelley was a Guggenheim Fellow in 2003 and in 1997 he won the Skowhegan Medal for Mixed Media.
Five winners of the Turner prize are demanding an end to BP's sponsorship of the National Portrait Gallery, stepping up the campaign against big oil's involvement in the arts.Antony Gormley, Rachel Whiteread, Anish Kapoor, Gillian Wearing and Mark Wallinger are among a group of almost 80 leading artists, including winners of the BP portrait award,...
Having made her name in the 1990s with quietly compelling pseudo-anatomical sculptures of flesh, Belgian artist Berlinde De Bruyckere has subsequently adopted a less explicit approach in her work.
To get to Roni Horn's home and studio in upstate New York, you drive through farm villages, past horses grazing on meadows, and after a few turns, reach a gate leading to a rugged dirt road. Even on a balmy spring day, the road is covered in a layer of ice. It's a long, winding ascent until you reach another turn, passing by two seal-brown...
In the poem 'Ode to Meaning' by Robert Pinsky, the speaker traverses the sundry terrains in which meaning might be found and sifts through the many guises it might take on. What a reader has to conclude coming to the end of the poem, is that meaning is a fugitive thing, sometimes here, and sometimes there, winking in and out of existence, and...
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